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À la loupe
Werner Moron
7 Rue de l'Official
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Cloakroom
Charlotte Delval
37 Rue Souverain Pont
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Biospheric City
Xavier Mary
25 Rue Saint Paul
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This Is Not a Theory
Giuseppe Arnone
40 Rue Hors-Château
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Barbaro after the hunt
Andréa Le Guellec
56 Rue Saint-Gilles
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Nos lieux de bonheur
Benjamin Hollebeke
141 Féronstrée
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Between Two
Adrien Milon
31b Rue de la Cathédrale
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Your Parcel Is Coming
Aurelien Lacroix
5 Rue Saint-Michel
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Marcher, cueillir, jardiner, teindre
Benjamin Huynh
32 Rue de la Madeleine
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À nos jours heureux
DIAAAne (Diane Stordiau)
28 - 30 Boulevard d'Avroy
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One Loft Race — Pigeon Paradise
Lucas Castel
20 Rue de la Sirène
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Les envahisseurs
Dimitri Autin
85 Rue de la Cathédrale
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Vous êtes toustes flou·e·s
Marcelle Germaine
107 - 109 Rue de la Cathédrale
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Le jeu d’un destin
Mikaïl Koçak
52 En Neuvice
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Rue Monrose, 62 : La chambre L’enfant Le train
Paul Gérard
180 Rue Saint-Gilles
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Peek
Raphaël Meng WU
75 Rue Hors-Château
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Un buisson de clés (Sleutelbos)
Amber Roucourt
16 Rue du Palais
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Brownfields
Cesare Botti
108 Féronstrée
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Never Finished
Dirk Bours
84 Féronstrée
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Empty Reflections
Jason Slabbynck
21 Pont d'Île
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On « Sexy Magico »
Louis Gahide
7 Rue Lambert Lombard
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Opalima Kupina: Liège episode A Stop Pavilion: On the Soft Underbelly of Europe.
Nikolay Karabinovych
1 Féronstrée
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Untitled
Reza Kianpour
14 Rue de la Populaire
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Angle Mort
VIVONS CACHÉ·ES
31a Rue de la Cathédrale
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Haya al salat, haya ala falah*
Sarah Van Melick
4 Rue de la Cathédrale
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Please like me #2
#10
Margaux Blanchart
Curator : Anna Ozanne
226107 En Féronstrée
Margaux Blanchart is a graduate of the academy of fine arts of Liège (ESAVL, 2021). She uses the image that we reflect of ourselves and the tools that are social networks, as fields of experiment. The visual artist, who only uses herself as a model, appears and disappears from one artwork to another, performing our contemporary attitudes and stereotypes.
Please like me #2 (1) features an installation that consists of a window-sized banner, loaded with self-portraits that the artist has posted on Instagram over the years, as well as stickers, which divert the incentive to like the content posted on this same social network.
The artwork occupies the commercial space of the street, in the same way that the commerce of influencers uses the commercial digital space of Instagram. With the exception that here the call for consumption merges into a more raw and frontal demand. Please like me unfolds a desperately sentimental lament against algorithmic fatalism.
While the first window (Please like me #1, AAC9) staged, not without humor, the preparation and the pause time that are necessary for a successful selfie, this second window (Please like me #2, AAC10) plays with a darker and more melancholic atmosphere. The black and white photographs come from the unpublished works of the artist. The supernumerary production of images highlights the serial aspect of a face-to-face with oneself, with others, a face-to-face with time.
(1) The Please like me project unfolds in two windows and an Instagram account @utilisateur2937, which often extends calls for “likes” throughout Art Au Centre. Please like me #2 follows on from the previous window: Please like me #1 (6 Rue Saint-Adalbert).